The band's musical adventures first began in 1982 when McCarthy and Harris, along with drummer David Gooday, formed the group whilst still at school in Chelmsford. Listening to the likes of Abwärts, Neubauten, Malaria, DAF, Cabaret Voltaire, Killing Joke and Bauhaus among many others the boys began experimenting with synthesizers and samples culminating in the release of four singles on their own Power Of Voice Communications label (a joint venture with Pet Shop Boys producer Phil Harding) before Daniel Miller was impressed enough to sign them to his own label Mute.
Nitzer Ebb's debut album, 1987's brooding 'That Total Age', displayed a brutalist yet polished élan. Following the powerful opening singles 'Murderous' and 'Let Your Body Learn', the band's club reputation was truly secured with the release of 'Join In The Chant', which in a version remixed by Phil Harding, became a staple in Britain's acid house and techno clubs.
Having won over club-land the band turned their attentions to the live arena and at the invitation of label mates Depeche Mode, supported them on their huge Music for the Masses tour. Meanwhile original drummer Gooday departed to be replaced for live performances by Julian Beeston, whilst McCarthy and Harris returned to the studio with producer, Flood, to record the follow up to 'That Total Age' for the album that would eventually become 'Belief' and set in progress a highly creative partnership that would extend over four albums.
The new album once again retained the musical and visual aggression of their previous work. Yet 'Belief' also hinted at the band's growing ability to display a sense of wit, imagination and sheer caustic comment within their music. There were no sacred cows in terms of subject matter or indeed the band's merciless capacity for piss taking.
Upon its release 'Belief' not only attracted much domestic critical praise but also saw their stock rise in Europe. In part this was aided by the series of remixes provided by the band for the singles 'Control I'm Here', 'Hearts & Minds' and 'Shame'. Along with additional mixes by William Orbit they helped maintain the band's popularity in the clubs and encourage the burgeoning fascination in Europe with what was then known as EBM (Electronic Body Music).
In 1990 the band and Flood once again returned to the studio with every intention of upping the ante even further. The resulting album 'Showtime' showed further evidence of the band's progression, combining their trademark energy with a growing musicality that added menacing depths to tracks such as 'Getting Closer' and 'Lightning Man'. The album also spawned a most improbable, though brilliantly effective remix of 'Fun To Be Had' by George Clinton, the visionary behind two of the greatest freak-funk bands ever - Parliament and Funkadelic.
Arguably the success of this collaboration acted as a spur for the band's next release, the EP 'As Is'. This saw McCarthy and Harris working with four different mixers to reveal the different musical aspects at work within band. Their collaborators included Jaz Coleman of Killing Joke, a recording artist whose musical aggression was even more noted than their own, and Alan Wilder, then of Depeche Mode, who applied his noted production skills to enhance the melodic potential within the band.
It was this potential that the band sought to develop on their 4th album, 'Ebbhead'. Released in 1991 the album was a full-blooded affair and with Alan Wilder joining Flood in the production hot seat it was perhaps no surprise to hear the rich musical instrumentation now firmly part of the band's armoury. Any suggestion though that the Ebb were somehow softening up were blown away by the full on pulverising assault of 'Godhead', an assault that had by now successfully overcome audiences in the US.
Though it appeared that the main external battles had been won, the band were arguably now having to battle with the internal tensions that naturally had arisen following a decade sustaining an intense level of shared creativity. Four years in the making 'Big Hit' finally made the light of day in 1995. The diverse and experimental nature of the band was still there, and in the lead-off single 'Kick It', the Ebb showed that they could still easily conjure up those moments that would batter the listener into submission yet make it a strangely rewarding process at the same time. Unfortunately, the band's decicion to update their sound with grunge-inspired guitars fails throughout most of the album, as the big rock-styled choruses proved incompatible with the band's signature electronics. Once ahead of their time, but now left behind, Nitzer Ebb found their last release headed straight to the cutout bins.
The cracks that appeared between McCarthy and Harris during the making 'Big Hit'--as well as longtime producer Flood's inattentiveness to the group's material--proved to be decisive and shortly after its release it became clear that another album would not be forthcoming. In fact it would take seven years before the band could bring themselves to talk to each other. Perhaps it was this enforced silence that encouraged critics to reassess the precocious impact and originality of the band, as a number of subsequent artists lined up to cite them as a major influence, or less honourably, simply exploiting the Ebb's musical template for their own individual gain. Whilst such a situation may be a cause of great annoyance to most bands, the Ebb maintain a healthy level of stoicism. As they say, “That's the problem with being ahead of the game - the pioneers get the arrows and the settlers get the land.”
In the end of 2005 when the quantity of requests for new Nitzer Ebb live acts went beyond the limits McCarthy and Harris met to discuss the possibility of reunion. Since the beginning of 2006 they started to give concerts and since summer Nitzer Ebb are on reunion tour. A 2CD compilation of best tracks and a bunch of remixes "Body Of Work" was released in may and later, in july, a remixes album "Body Reworked" followed. For the tour Nitzer Ebb hired a new drummer - Kourtney Klein, mostly known for her work in CombiChrist. In august of 2006 it was officially confirmed that Nitzer Ebb are working on the new material. The recording actually started in March 2007. New record is going to be produced by british producer Jagz Kooner and should be issued, according to Douglas McCarthy, at spring 2008.
Come Alive
Nitzer Ebb Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Wake up, wake up, wake up your heart and come alive
You could steal my car
If only I had one to drive
Drive through the night
Through the midnight air
In the streetlamps' glare
We come alive
We come alive
There's still one place to try
We can take a ride to loveland
There's still one place to try
We can take a ride to loveland
Turn on, turn on, turn on your smile and come alive
You could wreck my car
If we only both could survive
Bumper to bumper
The fumes start to choke
Coughing up the secrets
Of this innermost joke
We come alive
We come alive
There's still one place to try
We can take a ride to loveland
There's still one place to try
We can take a ride to loveland
There's still one place to try
We can take a ride to loveland
There's still one place to try
We can take a ride to loveland
Listen
Wake up, wake up, wake up your heart and come alive
Turn on, turn on, turn on your smile and come alive
Wake up, wake up, wake up your heart and come alive
Turn on, turn on, turn on your smile and come alive
The lyrics of Nitzer Ebb's "Come Alive" are a call to action, an invitation to awaken and truly live. The first stanza sets the tone with the repeated exhortation to wake up one's heart and come alive. The suggestion that the singer's car could be stolen if only they had one to drive adds a sense of urgency to the invitation. The following lines describe the thrill of driving at night with abandon, the excitement tangible in the imagery of screeching and speeding through the streetlamps' glare. The chorus ("We come alive, we come alive") reinforces the idea that this is a communal experience, a transformation that occurs when people are together and truly alive.
The second stanza builds on this sense of excitement and danger, with the suggestion that the singer's car could be wrecked, but that the risk is worth it if they both survive. The bumper-to-bumper traffic becomes a metaphor for the suffocating nature of routine and conformity, and the coughing up of secrets suggests the possibility of a deeper connection and understanding between people. The final invitation to take a ride to Loveland is a direct plea to escape the confines of everyday life and explore something new and unknown. The repetition of the chorus underscores the importance of this awakening, and the need to truly live before it's too late.
Line by Line Meaning
Come on
Encouraging the listener to start doing something
Wake up, wake up, wake up your heart and come alive
Urging the listener to wake up and start living with passion, energy and joy
You could steal my car
Using the metaphor of stealing a car to illustrate the idea that anything is possible
If only I had one to drive
Acknowledging that there may be obstacles in life, but it's important to focus on what one does have
Drive through the night
Encouraging the listener to keep going even in challenging times
Through the midnight air
Describing the feeling of freedom that comes when one fully embraces life
Screeching and speeding
Suggesting that fully living one's life requires taking risks and pushing boundaries
In the streetlamps' glare
Using the image of streetlamps to represent the outside world watching and judging, but not affecting how one chooses to live
We come alive
Repeating the idea that fully embracing life brings a sense of vitality and energy
There's still one place to try
Encouraging the listener to keep exploring and experiencing life
We can take a ride to loveland
Referring to Loveland metaphorically as a place of happiness and fulfillment
Turn on, turn on, turn on your smile and come alive
Encouraging the listener to smile and embrace the joy of living
You could wreck my car
Using another car metaphor to illustrate the idea of taking risks without fear of failure
If we only both could survive
Acknowledging that risks may have consequences, but that's not a reason to hold back
Bumper to bumper
Describing a close and intense experience
The fumes start to choke
Acknowledging the challenges and difficulties that come with fully living life
Coughing up the secrets of this innermost joke
Suggesting that the struggles and challenges of life are part of a deeper, hidden truth that can only be revealed through living fully
Listen
Calling the listener to pay attention and stay engaged in the moment
Lyrics © Universal Music Publishing Group, Royalty Network, Downtown Music Publishing
Written by: JEPTHER WASHINGTON MCCLYMONT, HOMER HARRIS
Lyrics Licensed & Provided by LyricFind
Jackson Chancey
This honestly has to be one of Nitzer Ebb's top best songs. And I love the majority of their work.
Alonda Thomas
Always loved this song, even though it sounds dark and creepy, lol.
tina hazelett
This is hands down thee best song by nitzer ebb and I love a lot of their music
Mewt
one of those special moments where electronic music legends crossed together for perfection. nitzer ebb and alan wilder both at their finest. and damn, that bassline.
Sala Samsung
I sang this at my American Idol audition
tina hazelett
@Sala Samsung fun Simon
Sala Samsung
@Audio Lego wrong song choice
Audio Lego
Really. What did Simon say?
theKMFDM machine
Seeing them tonight for the first time. Fan since 88. This song is on the set list.
charles wickam
Why hasn't this been used in a John Wick movie